In addition to running Academic Editing Canada, I'm an Independent Scholar of disability studies and science fiction (specializing in cyberpunk and feminist SF). I'm the proud co-editor (with Djibril al-Ayad) of Accessing the Future, a disability-themed SF anthology; editor of Disability in Science Fiction: Representations of Technology as Cure; and the inaugural recipient of the Le Guin Feminist Science Fiction Fellowship. My PhD thesis is awesome: Bleeding Chrome: Technology and the Vulnerable Body in Feminist Post-Cyberpunk SF [pdf].
I'm just going to pretend that it hasn't been 6 months since I last posted here. I have reasons!
My favourite conference (and the only one I go to these days), ICFA, is coming up in March. This year I decided that I want to present on one of my all-time favourite films, Blade Runner. Here is my paper proposal:
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“I want more life”—Disability as a Generative Narrative in Blade Runner
One of the pivotal moments of Ridley Scott’s Blade Runner (1982) happens when the founder of the Tyrell Corporation, Dr. Eldon Tyrell, denies the replicant Roy Batty’s plea for “more life” by saying “the light that burns twice as bright burns half as long." In the face of Tyrell’s cruel dismissal, Batty’s desperate violence becomes understandable. Disability studies scholars have taken up Blade Runner as a film about cure (Johnson Cheu) and the consequences of genetic engineering (Michael Bérubé) as they focus on how it recuperates ableist narratives of disability. In her recent book, Disability and Popular Culture, Katie Ellis addresses the ways in which science fiction (SF) films are “producerly texts,” stories that depict stereotypes of disability but that also “offer the possibility of thinking differently about ourselves [...] and offer positive alternatives” (11). Following Ellis’ approach to articulating counter-narratives and using a disability studies framing, I consider Blade Runner as a SF text that unsettles our sense of what disability looks like and what it can be. While I agree with Johnson Cheu’s conclusion that the replicants in Blade Runner (like the disabled today) “are considered second-class citizenry and are stigmatized as such” (204), I want to problematize this straightforward argument by reading the replicants—as represented by Leon, Batty, Prim, Rachael, and Deckard—as generative of a diverse disability identity. Many popular SF narratives focus on the cure or elimination of disability, but Blade Runner places emphasis on the inhumanity of removing individual agency in the process of medicalization.
Alison Kafer, in Feminist, Queer, Crip, asks: “What is it about disability that makes it a defining element of our imagined futures, such that a ‘good’ future is one without disability, while a ‘bad’ future is overrun by it?” (10). Whether the viewer reads Blade Runner as a “good” or “bad” future (Cheu, for instance, calls it a utopia), depends on which characters are the most relatable. I propose that, through the ambiguous figure of Deckard, the audience is forced to confront the experience of disability as both impairment and as a social construction. By recognizing the replicants’ vulnerability and right to autonomy, it becomes clear that each is worthy of “more life.” I will discuss the ways Blade Runner engages with notions of shared human vulnerability and shared bodily difference. The ideal but unrealized outcome in the film is in the proliferation of disability, not in its eradication. By moving the normate/able body out of the centre in favour of the replicant, I hope to show the potential of SF films like Blade Runner to be generative sites of disability narratives about the future.
I'm a bit behind on this announcement but you can now buy ACCESSING THE FUTURE, a disability-themed speculative fiction anthology co-edited by me and Djibril al-Ayad (Futurefire.net Publishing, 2015).
Stories by Nicolette Barischoff, A.C. Buchanan, Joyce Chng, David Jón Fuller, Louise Hughes, Rachael K. Jones, Margaret Killjoy, Petra Kuppers, Toby MacNutt, Jack Hollis Marr, Kate O'Connor, Sara Patterson, Sarah Pinsker, Samantha Rich, A.F. Sanchez.
Internal illustrations by Fabian Alvarado, L.E. Badillo, Jane Baker, Comebab, Pandalion Death, Rachel Keslensky, Vincent Konrad, Tostoini
Cover art by Robin E. Kaplan
Preface by JoSelle Vanderhooft
Afterword by Derek Newman-Stille
Check out our press page over at The Future Fire, give us a like on our Facebook page. ACCESSING THE FUTURE is available for purchase (paperback or ebook) at Amazon, Smashwords, Lulu, and all other online retailers.
Today is Blogging Against Disablism Day (or BADD for short), and this is my first year participating. For those of you new to my blog and my work, when I’m not running Academic Editing Canada, I’m busy with my independent scholarship in disability studies and science fiction. I recently wrote a post about my disability identification, “Fragments: Disability, Community, and Me,” if you’re curious, and many of the posts on this blog deal with my reflections on being a chronically-ill graduate student, and how that experience informs my research today. I also edit science fiction (SF), and I want to mention some good news right away— because I’m super proud of it—that Accessing the Future, an anthology of disability-themed speculative fiction stories that I co-edited with Djibril al-Ayad, received a starred review from Publishers Weekly!
There are many things that I could write about when it comes to my experiences of ableism, but I thought I’d share some of my observations as an independent scholar invested in bringing disability studies into science fiction studies. At the moment, I am frustrated with the genre academic community's engagement with disability—it is still such a marginalized conversation outside the handful of us who work at this intersection (mostly grad students and recent PhDs).
There are many oversights and microagressions I have witnessed or encountered in my role as scholar and writing about them in any specific detail feels unsafe and “unprofessional.” I know that this is ableism at work. I can say that I have felt devalued in my interactions with a few journal editors. I have made requests for accommodation on presentation times that were entirely ignored. And I’ve had to withdraw an accepted paper at a conference because its scheduling was so mishandled. These are just a few incidences that have affected my ability to fully participate, and I have heard many, many more examples of ableism from my disabled academic friends and peers. It is extremely common to hear, for example, in all kinds of academic and casual conversations, professors using ableist language, like “lame” and “crazy,” to describe unpopular or unusual ideas and people. This language hurts.
Articles addressing disability in any meaningful way are infrequent finds in genre journals—and, if they do appear, most of them are locked behind paywalls where I (and everyone else who lacks access to university journal databases) cannot read them. While I appreciate the difficulty of scheduling large, multi-track conferences, it is frustrating that the few papers about disability are often placed on panels about “otherness” or monstrosity (this has happened twice to me). It seems that genre conferences do not know where to effectively place a disability studies paper and this is a problem. It makes talking about disability in a sustained, critical way (that intersects with feminist, queer, anti-racist, and such other important concerns) that much more difficult.
While Disability Studies is becoming less marginalized in science fiction studies, there is a long way to go for it to move from a momentarily interesting “hot topic” to an actually active and engaged conversation that does not rely on a small handful of people to constantly bring it up. Since I started presenting on disability in SF at conferences (though I am not able to attend more than one or two a year I do follow what’s going on online), I have learned just how new and marginal disability studies is in the academic genre community. For example, the Science Fiction Research Association’s annual conference theme this year is “The SF We Don't (Usually) See: Suppressed Histories, Liminal Voices, Emerging Media.” Although many axes of identification were included in the original call for papers (CFP), there was no mention of disability! It took the wonderful Ria Cheyne to point out its absence before “disability and ability” were added to the CFP. Furthermore, there are no papers, from what I can tell from their conference program, that directly address disability. This is an all too common scenario that I have seen played out too many times.
Additionally, in a practical sense, there needs to be more people talking about disability and calling out ableism because so little is actually happening to improve the working conditions for a countless number of disabled graduate students, adjunct/sessional and tenured faculty, and administrative staff. Just check out some of the stories on PhDisabled (which is an amazing resource for disability recognition and advocacy). Conference organizers need to work harder in ensuring that their venues are fully accessible and in developing clear policies around accommodations for people with disabilities. Journals need to be open access and available on a variety of platforms.
I can’t speak to how other academics are trained in graduate school, but I know that for me, the process of interrogating cultural truths was held up as a foundational goal. I also know that when I see an absence of knowledge, especially one that causes or reinforces existing harm, I feel an obligation to speak up and say, “this is something we need to be talking about.” This is how I feel about the representation of disability in science fiction. There are very few popular SF texts that show realistic depictions of disability, whether it be physical or cognitive disability, chronic illness, or neurodiversity. It is a niche topic in terms of academic study but literature and film (and all media) show us what is and what is not possible. SF is an important place where cultural producers and consumers think through what kinds of lives matter and who gets to take part in creating the future world. I believe that genre scholars have a responsibility to meaningfully and significantly engage with disability—both theoretically and practically—sooner than later.
It’s time for a project update! I’m always kind of surprised that I manage to get scholarship and creative stuff done, but apparently it happens.
Last year started off with a research bang with my Le Guin Feminist Science Fiction Fellowship. I am finally ready to start delving into the 100s of letters I scanned. While it is true that I have been preoccupied with other work, the delay in getting back into this research was more due to the need to have mental distance from it. I was unprepared for how emotionally overwhelming I would find the research—the letters I was reading (from Le Guin, Russ, Tiptree, Delany, and many more amazing SF writers) brim with the lives of the people who wrote them. Given that I am an “emotional sponge,” I soaked up everything I was reading. Apparently, I needed nine months for things to get quietly sorted in my head so that I can now focus on drawing out conversational threads most relevant to my research interests. While I intend to incorporate some of my findings in a chapter on feminist SF in my planned book (more on that at the end of this post), I’m excited to see what other projects will spring from it.
One of those projects, actually, is an upcoming chapter titled, “Becoming Adult, Becoming Other: Anomalous Embodiment in Ursula Le Guin’s Earthsea Cycle.” I’ll post more details about that piece (and the edited collection by Sherryl Vint and Mathieu Donner that it will belong to) as the publishing details become finalized (as it is still in process). You can also read an interview I did with Alice Evans (of the CSWS) about the fellowship and my archival research.
In terms of notable scholarly publications in 2014, my “Disability Studies ‘101’” is in SF 101: A Guide to Teaching and Studying Science Fiction. It’s available as an ebook for a few dollars. [I’m also considering republishing it here on my blog, for free for all to read, if it doesn’t end up in the next issue or two of the SFRA Review—that decision will be discussed in an upcoming blog post]. For 2015, I am eagerly awaiting the April publication of Techno-Orientalism: Imagining Asia in Speculative Fiction, History, and Media by awesome editors, David S. Roh, Betsy Huang, and Greta A. Niu. I’m honoured to be a contributor with my chapter, “Re-imagining Asian Women in Feminist Post-Cyberpunk” (make sure to check out the super cool cover at the link). And while not a scholarly essay, I’m proud of the blog post I wrote about Misha’s Red Spider White Web for tor.com’s “That was Awesome: Writers on Writing” column last fall.
In just a few weeks, I am off to my favourite conference ICFA. I had originally planned on presenting a paper on disability in feminist SF along with organizing a panel on archival research in the field of the fantastic. Due to scheduling issues, however, I withdrew my paper and will be focusing my energies on the archival research panel. It feels a bit strange to not be delivering a paper this year, but I have good reasons (which are, again, being written up in an upcoming post).
Of course, the biggest news is Accessing the Future! Co-edited with Djibril al-Ayad, our disability-themed speculative fiction short story anthology is in the finishing stages. Accessing the Future will be published this summer (ah!) and it is amazing. While you wait for the summer publishing date to arrive, read one of the many blog posts Djibril and I wrote during our successful crowdfunding campaign. Working on this anthology has been life changing for me (and, yes, there will be posts coming about that too). Check out the awesome Table of Contents over at The Future Fire’s blog and look at the fabulous cover art by Robin Kaplan (below).
My next goal is to start, in earnest, writing a book on disability representation in science fiction once I am back from ICFA. I have set out two timelines for myself—one has me finishing a full draft by this time next year, and the other is accelerated, with a full draft come late fall. I do need to keep working (running Academic Editing Canada, which is work that I really enjoy, especially as I continue to receive more challenging and interesting client projects), so I’m keeping a flexible schedule of deadlines ahead of me. But still, a book! It’s hard to imagine such a huge undertaking coming together but since I also felt the same way about Accessing the Future (and Disability in Science Fiction), I know that it is possible.
I’m going to try to keep Bleeding Chrome blog better updated throughout this year. Writing leads to more writing, and it is helpful for me to keep engaged with other people and work out my thoughts in a more public space. So 2014, all things considered, was a darn good year, and 2015 is looking just as interesting and challenging. I’ll let you all know how it turns out!